I like this one:
Only a quick post tonight. It is late. It is hot here in the Gold Country. I anticipate giving some background and explanation for the book sculptures soon. I noticed that when I search "book sculptures" there are many artists making use of old books to create art. Some are quite involved, a few are surprising, and some are merely trivial. One artist's opinion.
I like this one:
Looking at the Notationscapes provides a clear example of the feel of this approach. It is entirely possible to create a full range of spatial suggestion from flat design to illusionistic depth. Further, it is possible to combine flat and depth styles for a more adventurous statement.
Let's take this one step more. Does one have to use a dot, a line, a squiggle, etc.? Is it possible to use marks that are much less reminiscent of music notation? Of course. For example, view some of the Antipodes Landscapes to see a select set of "rudiments" being used. So, instead of a paradiddle, roll, flam, or drag on a drum surface, I could apply a crescent void, raked lines, closed triangular (or near-triangular) shapes with a pattern fill, etc. to the drawing surface.
Enough for now.
Moving away from the landscape drawings specifically and to drawing generally, I would like to devote this post to the influence of percussion sheet music on my work. Having taken about 2 years of drum lessons focusing on the snare drum, I learned 1) to read the sheet music notation and 2) to execute drum rudiments. Looking at the sheet music as abstract marks on a page, I began to think of an analogous method of drawing. Take a few kinds of marks such as a dot, a line , a squiggle, and an "x" and arrange them as a unit. Next, take that unit and repeat it in a linear direction. The dots, etc. are like the notes, the units are like rudiments, and the linear direction is like a staff line.
Got to go now, so this is to be continued.
The process of these Antipodes works involves some degree of automatic drawing, similar to that used a century ago by Dada and Surrealist artists. I begin with the intention to draw a remote landscape, include some atmospheric perspective and other depth clues such as arcs and orthogonals, and multiple organic forms, usually rock formations, earth mounds, and occasional tree-like forms. Contrast of regular and irregular lines makes an interesting drawing.
So, there are certain "moves" I consider legitimate for the construction of Antipodes lanscapes. The one move I have yet to fully grasp the legitimacy of is that of the "void crescent." It appears as an empty shape among forms and values at some point in a number of these works but most of the time gets filled in with striped patterns. Note the drawing labeled Atmospheric Entity in the gallery. You'll have to hover over it.